Departing from the educational science documentary convention of 'zooming' between scales (from body to organ to cells to DNA etc..), it picks up the weird inter-zooms between recognised images and expands them into pulsing digital matter.

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It's slowing down...

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The work takes as its point of departure the educational science documentary convention of ‘zooming’ between scales. In Charles and Ray Eames’ Powers of Ten (1977), the Smithsonian Institute’s Cosmic Voyage (1996) or sequences of BBC’s Planet Earth (2006), for example, vision drifts outwards until cities, countries and planets merge into layers of darkness on darkness (cosmic zoom), or it creeps inwards into increasingly molecular structures (microcosmic zoom), moving slowly and smoothly from images of skin to blood vessels to outer cell layers to felty collagen to capillary to lymphocyte. The zoom creates an imaginary for scales of the visible that quickly and exponentially melts into an imaginary for the imperceptible.

Within the documentary, this imperceptibility is constantly arrested into now recognisable images such as the DNA helix or the Milky Way. At the same time, however, something else is registered in the operation through the weird digital contingencies of the zoom itself. This interzoom matter is invested with organic-life from the alluded scales of the organism, as well as with machinic form through the modulating information/knowledge apparatus of the zoom operation.

In Compressed Intercessor, interzoom matter becomes material for art. It is raided as an epiphenomenal generator of images between those that comes to shape scales of thought. An interface is built beyond lived experience toward confrontation with the ecological complexities of digital imaging. Compressed Intercessor I re-diagrams a microcosmic zoom machine, extracting and crafting an interzoom object of pulsing digital matter-life, accelerated swelled and looped, injected with bursts of Acid House and cinematic calls. Bypass graft stereotaxis, it extracts a dirty germ of rhythm and lays out contagious surfaces for its hosting, lure for parasitical matter that is already burrowing and breeding inside.

Departing from the educational science documentary convention of 'zooming' between scales (from body to organ to cells to DNA etc..), it picks up the weird inter-zooms between recognised images and expands them into pulsing digital matter.

-

It's slowing down...

-

The work takes as its point of departure the educational science documentary convention of ‘zooming’ between scales. In Charles and Ray Eames’ Powers of Ten (1977), the Smithsonian Institute’s Cosmic Voyage (1996) or sequences of BBC’s Planet Earth (2006), for example, vision drifts outwards until cities, countries and planets merge into layers of darkness on darkness (cosmic zoom), or it creeps inwards into increasingly molecular structures (microcosmic zoom), moving slowly and smoothly from images of skin to blood vessels to outer cell layers to felty collagen to capillary to lymphocyte. The zoom creates an imaginary for scales of the visible that quickly and exponentially melts into an imaginary for the imperceptible.

Within the documentary, this imperceptibility is constantly arrested into now recognisable images such as the DNA helix or the Milky Way. At the same time, however, something else is registered in the operation through the weird digital contingencies of the zoom itself. This interzoom matter is invested with organic-life from the alluded scales of the organism, as well as with machinic form through the modulating information/knowledge apparatus of the zoom operation.

In Compressed Intercessor, interzoom matter becomes material for art. It is raided as an epiphenomenal generator of images between those that comes to shape scales of thought. An interface is built beyond lived experience toward confrontation with the ecological complexities of digital imaging. Compressed Intercessor I re-diagrams a microcosmic zoom machine, extracting and crafting an interzoom object of pulsing digital matter-life, accelerated swelled and looped, injected with bursts of Acid House and cinematic calls. Bypass graft stereotaxis, it extracts a dirty germ of rhythm and lays out contagious surfaces for its hosting, lure for parasitical matter that is already burrowing and breeding inside.

Departing from the educational science documentary convention of 'zooming' between scales (from body to organ to cells to DNA etc..), it picks up the weird inter-zooms between recognised images and expands them into pulsing digital matter.

-

It's slowing down...

-

The work takes as its point of departure the educational science documentary convention of ‘zooming’ between scales. In Charles and Ray Eames’ Powers of Ten (1977), the Smithsonian Institute’s Cosmic Voyage (1996) or sequences of BBC’s Planet Earth (2006), for example, vision drifts outwards until cities, countries and planets merge into layers of darkness on darkness (cosmic zoom), or it creeps inwards into increasingly molecular structures (microcosmic zoom), moving slowly and smoothly from images of skin to blood vessels to outer cell layers to felty collagen to capillary to lymphocyte. The zoom creates an imaginary for scales of the visible that quickly and exponentially melts into an imaginary for the imperceptible.

Within the documentary, this imperceptibility is constantly arrested into now recognisable images such as the DNA helix or the Milky Way. At the same time, however, something else is registered in the operation through the weird digital contingencies of the zoom itself. This interzoom matter is invested with organic-life from the alluded scales of the organism, as well as with machinic form through the modulating information/knowledge apparatus of the zoom operation.

In Compressed Intercessor, interzoom matter becomes material for art. It is raided as an epiphenomenal generator of images between those that comes to shape scales of thought. An interface is built beyond lived experience toward confrontation with the ecological complexities of digital imaging. Compressed Intercessor I re-diagrams a microcosmic zoom machine, extracting and crafting an interzoom object of pulsing digital matter-life, accelerated swelled and looped, injected with bursts of Acid House and cinematic calls. Bypass graft stereotaxis, it extracts a dirty germ of rhythm and lays out contagious surfaces for its hosting, lure for parasitical matter that is already burrowing and breeding inside.